Programme

4 – 6 September 2017

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Wednesday 4 Sept

10.00 – 12.00

Registration  

12.00 – 13.15

Break and refreshments

13.15 – 13.30

Welcome

13.30 – 15.30

Session 1  

Individual papers will be 20 minutes in length and followed by 10 minutes discussion time, unless otherwise indicated. Chairs for each session will be confirmed in due course.

Session 1A: Perspectives on Women’s Work in Music 1

  • Dr. Elizabeth Ford (Glasgow University), Anne Young’s Game: Learning Harmony through Play in 18th -Century Scotland
  • Kelly Lynn Christensen (Stanford University), Women and Parisian Music Publishing in the First Half of the 19th Century

Session 1B: Composers 1

  • Dr. Vivian Montgomery (Longy School of Music, Cambridge, Massachusetts), Did she Cease her Funning? Quieting a Georgian Prodigy in the Midlands
  • Orla Shannon (Dublin City University), Underrated, Underestimated: The Contributions of Ina Boyle (1889-1967) to Ireland’s Canon of 20th -Century Art Music

Session 1C: Popular Music

  • Alice Masterson (York University), ‘Why Stick a Lovely Girl behind the drums’: The Suppression of Karen Carpenter
  • Dr. Kate Lewis (Brunel University, London), A Mother and A Sister: Pioneering Female Guitar Players and Their Influence on the Development of the Lead Guitar in American Popular Music

Posters Exhibition

  • Emese Lengyel (University of Debrecen, Hungary), Operetta is an Ideological Business – Margit Gaspar as a DirectorGeneral in Budapest Operetta Theatre (1949-57)
  • Dr. Marleen Hoffmann (Archiv Frau und Musik, Frankfurt am Main), The Archive of Women in Music (Frankfurt, Germany)
  • Leah Davies (Liverpool Hope University), Florence Beatrice Price: The Caged Bird Sings
15.30 - 16.00

Afternoon Refreshments      

16.00 - 18.00

Session 2

Session 2A: Patrons and Artistic Milieux

  • Briony Cox-Williams (Royal Academy of Music) and Pierrette Thomet (Independent), The Salon as Concept: Women and their Music Making in a Salon Environment
  • Dr. Rhian Davies (Artistic Director, Gregynog Festival), ‘Communicating Loveliness to Others’: The Musical Patronage of Gwendoline and Margaret Davies
  • Ann Grindley (Open University), Sites of Empowerment: Fin-de-siecle Salon Culture and the Music of Cécile Chaminade
  • Ana Lombardia (Harvard University’s Villa i Tatti, Florence), Maria Luisa of Bourbon (1782-1824): Collector, Composer and Promoter of Female Musical Networks

Session 2B: Performance and Reception 1

  • Peng Liu (The University of Texas at Austin), Klavier Amazone: Interpreting Caroline de Belleville’s Virtuosity through her Public Concerts in the 1830s
  • Dr. Jaswandi Wamburkar (Department of History. S.N.D.T. Women's University. Mumbai. India), Re-claiming the Past: Case Study of Three Female Singers
  • Dr. Barbara Gentili (Royal College of Music), Emma Carelli: Performing the Donna Nova on the Operatic Stage and Beyond
  • Gabriele Slizyte (Sorbonne Université and Conservatoire de Paris CNSMDP), Pianist Gaby Casadesus, Better Known as Madame Robert Casadesus: Between the Image, Paradox and Personal Concessions

Session 2C: Lecture-Recitals 1 & 2

Lecture-recitals will be 45 minutes in length and followed by 15 minutes discussion time, unless otherwise indicated.

  • Dr. Malinda Haslett (University of Southern Maine) and Scott Wheatley (University of Southern Maine), Claude Arrieu, the Forgotten Genius
  • Sophia Tegart (Washington State University) and Michael Seregow (Ball State University), Ekphrasis, Nature, and the Flute
18.15 – 19.15

Concert: Rhian Samuel – A Celebration                                                

Madeleine Mitchell (violin) and Nigel Foster (piano)

19.15 – 20.00 Pre-Dinner Conference Reception sponsored by the PRS for Music  

20.00

Conference Dinner   

Thursday 5 Sept

9.00 – 11.00am

Session 3

Session 3A: Perspectives on Women’s Work in Music 2

  • Rachel McCarthy (Royal Holloway, University of London), Women’s Work in Music Studies Today: Barriers, Challenges and New Commitments
  • Anna Bampali (Independent), The Life of a Woman Composer in Greece of the First Half of the 20th Century
  • Maria Teresa Lacerda (INET md | NOVA FCSH, Portugal) and Carolina Sá (INET md | NOVA FCSH, Portugal), Women Musicians in the Phonographic Industry of 20th Century Mozambique
  • Joy Ellis (Guildhall School of Music and Drama), Tomorrow’s Warriors: Redressing the Gender Balance in the UK Jazz Scene

Session 3B: Composers 2

  • Dr. Marleen Hoffmann (Archiv Frau und Musik, Frankfurt am Main), ‘Shout, Shout up with your Song’: Ethel Smyth’s ‘Suffrage Music’ and her Feminist Activities in Music Politics
  • Julie Cleary (University of Pittsburgh), Elsa Barraine’s Personal Narrative of Resistance as Survival
  • Li-ming Pan (Chinese Culture University, Taiwan), The First Female Composer in Taiwan: Deh-fang Swen (1920-2009) and her Military Marches
  • Jan Dewilde (Centre for the Study of Flemish Music / Library Royal Conservatoire Antwerp), Jacquline Fontyn: A Composer in Pursuit of Freedom

Session 3C: Performance and Reception 2

  • Jessica Beck (University of Manchester), Women Musicians and the BBC Philharmonic Orchestra
  • Madeleine Herbert (Independent), A Novelty Band: a Comparison of the Critical Reception and Wider Attitudes of the International Sweethearts of Rhythm and DIVA Jazz Orchestra
  • Dr. Lis Lewis (Independent), Orchestrating the Careers of Twentieth-Century British Female Flute-Players

Session 3D: Lecture-Recital 3 & 4

  • Sioned Terry (Bangor University Alumna), Clara Schumann: A Catalyst for Our Time
  • Charlotte de Rothschild (Independent), The Songs of Mathilde de Rothschild
11.00 – 11.30 Mid-morning Refreshments 
11.30 – 12.30

Keynote Presentation 1

Dr. Liane Curtis (President, Women’s Philharmonic Advocacy / President, The Rebecca Clarke Society), We Need Historic Women Composers to Build a Musical World without Patriarchy

12.30 – 13.30 Lunch Break and Refreshments
13.30 – 15.30

Session 4

Session 4A: Composers 3

  • Dr. Claudia Chibici-Revneau (Universidad Nacional Autónoma de México), A Female Viennese School: An Autoethnography Exploring the (In)significance of Marianna Martinez, Maria Teresa von Paradis and Josepha Barbara Auernhammer in Historical and Contemporary Vienna
  • Dr Walter Kurt Kreyszig (University of Saskatoon, Canada / Conservatorio Niccolo Paganini, Genoa), Clara Schumann’s Exploration of 18th-Century Learned Counterpoint in her Keyboard Compositions in 1845
  • Dr. Siegwart Reichwald (Converse College, Spartanburg, USA) and Zoe Kushubar (Converse College, Spartanburg, USA), Making her Way in Dresden: New Paths in Clara Schumann’s Piano Trio, Op. 17

Session 4B: Music, Gender and Representation        

  • Claudia Falcone (Bangor University), Representations of Female Guitarists in British Art, ca. 1800-1830 Carolina Sá (INET-md | NOVA FCSH, Portugal), Women in Portuguese Lullabies
  • Carolina Sá (INET-md | NOVA FCSH, Portugal), Women in Portuguese Lullabies
  • Dr. Elisabeth Honn Hoegberg (University of Indianapolis), ‘Untrammeled Imagination’: the Women of Wa-Wan Press
  • Emmanuela Wroth (Durham University / Bowes Museum), Sex, Song and Self-Fashioning: Women on the Parisian Popular Stage

Session 4C: Lecture-Recitals 5 & 6

  • Dr. Steven Young (Bridgewater State University), The King of Instruments Meets the Queen of the Airwaves
  • Dr. Vivian Montgomery (Longy School of Music, Cambridge, Massachusetts), Dr. Janet Youngdahl (University of Lethbridge, Alberta, Canada) and Elizabeth Kenny (University of Oxford), Peace in her Mouth and War in her Heart: Barbara Strozzi at 400

Session 4D: Music and Dance

  • Owen Coggins (Open University) and Molly Geidel (Manchester University), Stay Up There: Gendered Labour, Motherhood and the Work of Dance and Music in ‘Rockabye’
  • Tamara Wilcox (State University of New York, The College at Brockport), Mavens of Music for Dance
15.30 – 16.00 Afternoon Refreshments

16.00 – 18.00

PANEL: Women Composers: Looking Back and Looking Forward

Chair: Dr. Kate Kennedy, Director: Re:Dress Women Composers Project (Oxford Centre of Life Writing, University of Oxford)

Panellists:  Edwina Wolstencroft (BBC Radio 3 Editor and Diversity Lead), Diana Ambache (Conductor, Performer), Rhian Samuel (Composer, Editor)

18.00 – 18.45

Free Time

18.45 – 19.15

Pre-Concert Talk

Angela Elizabeth Slater, founder of Illuminate Women’s Music, in conversation with composer and critic Steph Power

19.30

Concert: Illuminate Women’s Music

Patricia Auchterlonie (soprano) and the Illuminate String Quartet: Clarice Rarity (violin), Christine Cornwall (violin), Katherine Clarke (viola) and Cecilia Bignall (cello)

Friday 6 Sept

9.00 – 11.00   

Session 5A: Perspectives on Women’s Work in Music 3

  • Dr. Laura Hamer (Open University), ‘Une belle manifestation feministe’: Motivation and Formation of the UFPC (Union des Femmes Professeurs et Compositeurs de Musique)
  • Dr. Nancy Washer (The College at Brockport, State University of New York), Women’s Work in the Viola da Gamba Society of America
  • Kenneth Baird (European Opera Centre, Liverpool), Rediscovering Lilian Baylis

Session 5B: Music & Words

  • Yuemin He (Newcastle University), Reading Cultural Nostalgia in Collection of Elegance (1667): Material space, Personal Remembrance and Editorial Gazing
  • Dr. John Cunningham (Bangor University), Ghosting Katherine Philips: Songs Lost and Found
  • Oge Nwosu (Wolfson College, University of Oxford), Why are they Singing? Dissonance, Dissociation, and the Disruptive Librettist in the Opera Auditorium

Session 5C:  Challenging Gender Stereotypes                                          

  • Dr. Colette Simonot-Maiello (University of Manitoba, Winnipeg, Canada) and Leigh Karras (University of Manitoba, Winnipeg, Canada), The Unrepentant Maverick and the Charming Socialite: Constructing Identities of Canadian Women Composers
  • Maria Batlle (King’s College, University of London), Contemporary Chilean cantoras: Cultural Resistance through the Performative Reformulation of a Traditional Archetype
11.00 – 11.30 

Morning Refreshments

11.30 – 12.30

Keynote Presentation 2

Deborah Annetts (Chief Executive, Incorporated Society of Musicians), 101 Years After Women’s Suffrage: Has Music Got the Message? 

12.30 – 13.30 

Lunch

Break and Refreshments
13.30 – 15.30 

PRS for Music Panel: Women’s Leadership in Music

Chair: Harriet Wybor, Relationship Manager - Classical (PRS for Music). Panellists will be confirmed in due course

15.30 – 16.00 

Afternoon Refreshments

16.00 – 18.00

Session 6

Session 6A: Composers 4

  • Dr. Carly Eloise Rowley (Independent), Contributing and Disrupting Narratives: Voices in Morfydd Owen’s Spring and The Lamb
  • Barbora Vacková (Charles University, Czech Republic), ‘Music kept me sane, you see’: Geraldine Mucha’s Piano Concerto as a Mental and Emotional Escape
  • Lucy Hollingworth (Royal Conservatoire of Scotland), I Lay Down by the Riverside and Dreamed: The Man who was my Muse
  • Dr. Marcela Garcia (Universidad de Los Andes, Columbia), Partitura Sonora by Colombian Composer Alba Fernanda Triana: Spectral Music, Interactive Media, and Music Performance for Non-Musicians

Session 6B: Music and the Church

  • Giovanna Carugno (Conservatory of Salerno, Italy), Women’s Musical Work in Monasteries: An Historical Overview on the Monanca dell’ Annunciata (c. 1570-1619)
  • Dr. Laureen L.Whitelaw (Southern Methodist University, Texas), Embracing Lasso: Female Liturgical Production and the Proto Cacilian Movement
  • Dr. Laura Stanfield Prichard (Boston Baroque), What did Women Sing? The Ascendency of Female Choristers and the Modern ‘Mixed Choir’
  • Enya Doyle (Durham University), Women in Cathedral Music: ‘No Glass Ceiling Now’?

Session 6C: Lecture-Recitals 7 & 8

  • Dr. Laura Kobayashi (Main Street Music Studios, Fairfax) and Dr. Susan Keith Gray (University of South Dakota), Music for Violin and Piano in the Time of Rebecca Clarke’s Midsummer Moon Professor
  • Tammy Hensrud (Hofstra University / St. Olaf College) and Dr. Susan Keith Gray (University of South Dakota), The Cabaret Songs of Madeleine Dring
18.00

Conference Disbands